Screenplay: Savior
by Jack Bullions
Summary: Unfinished. Content DV. AU. Roman, an X5 struggles with memories of his past. An encounter with Tal, a person who shares the same unique bar-code, triggers an avalanche of questions.
1. Pages 1-10


    SAVIOR
    story
    by
    Jana Klein
    screenplay
    by
    Jack Bullions
    based on
    James Cameron's world of Dark Angel
    FADE IN:
    INT. CELL - TIMELESS
    In a DIMLY LIT room with padded walls...glossy floor tiles...
    a LONE FIGURE on a bed under covers.
    ANGLE ON SLEEPING EYES -- the lids flutter the slightest.
    CUT TO:
    EXT. TRAIN TRACKS - DAWN
    On the ground. Old ones, half-covered by weeds. In the b.g.
    rusted steel spires and smoke stacks of a long dead
    industrial district soar into the gray sky. Suddenly, we
    hear a low rumble. It increases in volume then --
    A FREIGHT TRAIN -- engine, several boxcars (carrying various
    chemical materials), and a caboose - roars from under the
    screen into view. The thunderous sound is deafening --
    CUT BACK ON THE SAME EYES
    at the cell, they look more agitated now.
    INT. TRAIN ENGINE - DAWN
    The chief ENGINEER with hands on both brake and accelerator
    controls, stares blankly out the window. A TAC-OPS OFFICER
    enters.
    TAC-OPS OFFICER
    How much longer?
    ENGINEER
    Nine minutes. We'll be out of Amboy and
    back inside a secure zone.
    The Tac-Ops Officer nods, lights up a cigarette.
    EXT. TRAIN ENGINE AREA - DAWN
    Behind the engineer's compartment is the engine itself, with
    walkways along either side.
    Four TAC-OPS TROOPERS, two on each side, black suits, with
    heavy automatic rifles keep careful watch.
    The train hurtles under a bridge-pass.
    EXT. BRIDGE - DAWN
    On the other side and up above,
    A FIGURE leaps off the edge and lands right onto the rooftops
    of the passing freight cars with extraordinary grace and
    precision.
    EXT. TOP OF TRAIN - DAWN
    The face of TAL snaps INTO FRAME. About mid 20s, sullen
    expression. He's crouched on all fours, scanning up and down
    the train. He darts off quickly like a black blur.
    FOLLOWING BEHIND TAL as he begins to jump from one boxcar to
    the next. His movements are so clean, gliding in and out of
    each jump. We also recognize the curious looking bar-code on
    the back of his neck.
    EXT. TRAIN ENGINE AREA - DAWN
    Tal jumps the gap between two more freight boxcars, his long
    black coat flying open like the wings of a manta ray. He
    whips out dual Beretta Elites from under his coat.
    WHIP PAN TO:
    THE TAC-OPS TROOPERS
    as they spin to behind them just as Tal comes over the top,
    fingers pumping both handguns furiously.
    They all go down fast.
    Tal hops down onto the walkway.
    INT. TRAIN ENGINE - DAWN
    The Tac-Ops Officer slings up his rifle. Tal behind the
    door, SHOOTS THROUGH the glass, and plugs a bullet into the
    skull of the Officer.
    The Engineer snaps his head back. Tal opens the door and
    strides into the compartment, barrel of the gun trained on
    the Engineer's forehead.
    TAL
    You want to live, stop the train.
    The Engineer hesitates. Tal pulls back the hammer.
    TAL
    Believe it.
    The Engineer grips the brake lever, throws it down.
    EXT. TRAIN - DAWN
    EXTREME CLOSE UP - Brakes LOCK into the TRAIN AXLE. Steel
    grinds against steel, SCREECHING LOUDLY just as --
    INT. CELL - NIGHT
    THE EYES -- they snap open and dart about in confusion.
    ON ROMAN, in skivvies, as he sits up into the light. Covers
    tossed off. He swings his legs over the side of the cot.
    We get a profile of Roman. He looks to be about Tal's age,
    early 20s, dark featured, pained expression. His neck aches
    from the horrible sleep.
    HIS P.O.V. - looking around the room. A sterile self-
    contained high-tech living quarter of bland white with
    everything included -- bathroom, kitchen, closets, and the
    Entertainment Set.
    Roman shivers, cold. He picks up the clothes lying on the
    floor and puts them on. Loose sweat pants, a plain shirt,
    slippers.
    Now he stands up, with some effort, and staggers from the
    bed.
    FLASH CUT --
    Blurry, fast-paced and surreal images seen in EXTREME CLOSE
    UP.
    ABSTRACT FIGURES, SMALL, no faces, in hospital gowns, walking
    towards us. We think they might be children.
    BACK TO PRESENT
    ANGLE - A LIGHT SWITCH. Roman's hand ENTERS FRAME, slides a
    finger up the SENSITIVE-PAD halfway. WHITE LIGHT gradually
    fills the room to half intensity.
    ON HIS REFLECTION in a bathroom wall mirror. He moves to the
    mirror and looks at himself a la the Dark Angel pilot. Our
    first clear impression of this young man now. What we see is
    an ice-cold professional: lean, grim, dangerous eyes, bred to
    kill. No innocence about him.
    MOVE CLOSER IN on his eyes. O.S. sourceless whispers.
    ANOTHER FLASH CUT --
    Young Roman, twelve years old, standing alone in a hallway.
    A din of DISTORTED VOICES surround him -- PA speakers,
    megaphone, the burble of children all overlapping in jumbled
    discord. He looks over his shoulder.
    The same SMALL FIGURES, about his size, moving towards him.
    Features more clear. Pale skin. Different color hair. We
    still can't see their faces.
    Young Roman reacts, terrified and --
    WHAM! The bathroom mirror slams shut.
    Roman looking at himself, then glances down at his hand,
    which is holding an empty orange prescription bottle. He
    crushes it inside a tight fist and then bends to splash cold
    water on his face.
    CUT TO:
    INT. CONFERENCE ROOM - NIGHT
    Overhead lamps cast pools of LIGHT down onto A CONFERENCE
    TABLE, onto the CORPORATE BOARD MEMBERS gathered to observe
    the LARGE VIDEO SCREEN. Expensive suits, expensive
    accessories, grim faces, which indicate wealth, power, and a
    military presence.
    ON THE VIDEO featuring footage taken inside one the BOXCARS
    of the hijacked train. Tal turns and stares into the camera,
    fires his Beretta. The screen cuts to static.
    VOICE IN THE ROOM (O.S.)
    ...most of the security were killed, the
    rest bound and gagged in one of the
    empty freight cars.
    EDWARD MULCAHY, the ultimate company man, late 50s, steeples
    his fingers. The LEATHER CREAKS as he leans back, facing his
    board members.
    MULCAHY
    The entire Metheglin supply was taken.
    CORPORATE TRUSTEE
    He couldn't have acted alone. Do we
    have an I-D on this individual?
    Mulcahy nods to Director DOUGLAS RANSOM, early 40s.
    RANSOM
    This is Tal, formerly X-Five-One-Zero-
    Four. One of the two X-Five's brought
    from the Gillette facility to the East.
    Escaped seven years ago. He has himself
    a crew now.
    Everyone REACTS with startled silence.
    BOARD MEMBER
    You are certain this is one of ours?
    As if on cue, a COMPUTER TECH appears and goes to work on the
    computer console near the video screen. He types in a
    command, the video REWINDS. STOPS. He hits a few more keys,
    then fiddles with the MOUSE.
    The video blows up the profile of Tal until we notice the
    bar-code at the nape of his neck.
    RANSOM
    Without question.
    CORPORATE TRUSTEE
    What has been done?
    RANSOM
    We have an informant inside, but he
    tells us everything is being kept
    covert, mouths shut on the matter. We
    do know for several weeks, they've been
    attempting to contact various Medical
    Distributors and research teams from
    overseas.
    BOARD MEMBER
    And yet your informant failed to mention
    this escapade of theirs?
    RANSOM
    Like I told you, covert. Tal doesn't
    talk scores to anyone he doesn't trust
    with his life.
    CORPORATE TRUSTEE
    What do they want?
    The FEMA (Federal Emergency Management Agency) Representative
    (FEMA REP) looks over.
    FEMA REPRESENTATIVE
    Is it obvious?
    RANSOM (CONT'D.)
    We have been monitoring several
    groups... ones with histories of working
    underground. Our best guess they would
    try to contact one of them. There is
    one group coming in tonight, here in New
    York City.
    CORPORATE TRUSTEE
    The recovery of the Metheglin is
    paramount, at all costs.
    MULCAHY
    If one of our own is involved, we need
    to proceed with careful calculation.
    Heads nod around the table.
    RANSOM
    I have Lieutenant Towner with more
    units on stand-by and ready...
    MULCAHY
    Make a call to Boston.
    (off Mulcahy's look)
    Bring the other one here to assist your
    operation.
    RANSOM
    I don't believe that is necessary. I
    can handle one of my own.
    MULCAHY
    Lydecker shared the exact same sentiment
    as well in Seattle.
    RANSOM
    Sir, with all due respect, this isn't
    Seattle.
    MULCAHY
    I hate to be pragmatic, Douglas, but you
    and I both know we bred these soldiers
    to be good, and they are very good.
    RANSOM
    I understand that, Sir, but we separated
    them for a reason. Sending Roman could
    trigger unneeded complications.
    MULCAHY
    A risk we can accept. Losing the
    Metheglin is something we will not
    accept.
    CORPORATE TRUSTEE
    Our latest series has yet to be field
    tested. Roman is the only option. Make
    the call.
    Ransom gets up from his seat slowly, and leaves.
    CUT TO:
    INT. ROMAN'S CELL - NIGHT
    Roman sits at a table in the dining alcove contemplating the
    smoke rising from his cup of coffee.
    CUT TO:
    INT. ISOLATION SECURITY CHECKPOINT - MANTICORE MEDICAL
    RESEARCH INSTITUTE - BOSTON - NIGHT
    A small room before a short SALLY-PORT corridor designed to
    prevent anything from leaving the deeper recesses of the
    facility. There are doors at each end. The first one is
    barred like a jail-cell door, and the second is a steel fire
    door. The security officers have a video monitor with which
    they can see the corridor on the other side of the doors.
    INSIDE THE ISOLATION WARD, the station looks like a cage,
    walled in by heavy metal mesh and plexi-glass. The SECURITY
    OFFICERS look up to see a tall black man, GIDEON, mid 20s,
    approach the glass. He's carrying a file in hand, reaches
    into his coat and pulls his ID.
    He flips it open, presses it up to the glass.
    CLOSE ON the ID card. Gideon's photo, official-looking
    graphics. It calls him a "Manticore Investigator."
    One of the Security clicks on the intercom.
    SECURITY OFFICER
    Early visit today, eh?
    Gideon nods as the other officer triggers the doors to slide
    open.
    CUT TO:
    INT. ROMAN'S CELL - NIGHT
    Roman is now busy field-stripping and cleaning a M-4A1
    Assault Carbine. He flips the safety. Retracts the cocking
    handle. Snaps open the rifle. CLICK-CLACK. His movements
    very methodical.
    A variety of guns lay spread out in front of him.
    CUT TO:
    INT. ISOLATION CORRIDOR - NIGHT
    Gideon looks up at the SECURITY CAMS just as the heavy steel
    gate CLANGS shut behind him. The bolt shoots home.
    We DOLLY on Gideon as crosses through the long crowded
    corridor. Guards, men in white lab coats, doctors, discuss
    charts, or pass by. A P.A. broadcasts occasional messages.
    PROFILE
    Gideon crosses another steel gate. Two more SECURITY GUARDS,
    armed, snap to attention there. Without breaking his stride,
    Gideon moves on down the hallway.
    CUT TO:
    INT. ROMAN'S CELL - NIGHT
    Roman sits, staring down at the M-4A1 Carbine in his hands.
    The weapon fully re-assembled and cleaned now. He sets it
    down and picks up another weapon when --
    A door HUM.
    Roman looks away from his work. His cell door slides open TO
    REVEAL Gideon.
    GIDEON
    How you feeling?
    Roman looks at him.
    ROMAN
    I think I'm going mad. I dreamed again.
    GIDEON
    Same one?
    ROMAN
    This was more intense.
    Gideon walks in, pulls a chair, and sits next to him.
    ROMAN
    You want any coffee?
    GIDEON
    No. It's okay.
    Roman goes back to his cleaning.
    GIDEON
    You've been taking the medications like
    I told you to?
    ROMAN
    Yeah... every night. It's not helping.
    GIDEON
    Awright. It sounds pretty bad. I'll
    talk to the doctors again.
    ROMAN
    I've been doing some thinking.
    GIDEON
    About what?
    ROMAN
    About the dreams. I've been trying to
    figure out things, about it... You know,
    try to make some sense out of it.
    He stops his work momentarily, and stares at the weapon.
    Gideon folds his hand over the file.
    ROMAN (CONT'D.)
    Do you remember the children I told you
    about? When I was twelve, I lived with
    a large group of them in a place, just
    like this.
    Gideon nods.
    ROMAN (CONT'D.)
    They... none of them had faces.
    GIDEON
    You never lived with a group of
    children, Roman. I've been telling them
    to move you out of this place. Being
    holed up in a world like this... it does
    things to your head.
    ROMAN
    Yeah, I guess.
    GIDEON
    Don't worry about it. I'll talk to
    them again, and get you something better
    for your dreams.
    A beat between them. Gideon seems reluctant what he is about
    to say next.
    ROMAN
    Well, I know you're not here to shoot
    the breeze with me, being it isn't the
    weekend. Something you need to tell me?
    GIDEON
    We're sending you out again.
    ROMAN
    (a look)
    I just did two weeks in the Middle East.
    GIDEON
    I know. They want you back out. We
    have a real problem.
    Gideon opens up his file, pulls out several 8" by 10"
    glossies, and slides them to Roman. Each of them
    TOPOGRAPHICAL MAPS of the Northeastern U.S. coast. Gideon
    indicates a set of COORDINATES and MARKS on each map.
    GIDEON
    A train shipment of Metheglin leaving
    Annapolis to Boston was hijacked outside
    of Amboy six hours ago. We've zeroed in
    on their location in Manhattan.
    ROMAN
    Metheglin?
    GIDEON
    It's a vaccine to the plague that's been
    spreading around the New England area.
    ROMAN
    I know about the plague. I didn't know
    a vaccine was discovered.
    He looks at Gideon. Gideon avoids eye contact, pulls a photo
    from the file, and puts it over the maps.
    GIDEON
    Recognize him?
    Roman looks down again. It's a dossier of a man with a mug
    shot.
    INSERT ON THE PHOTO
    a handsome young man. We meet Tal again.
    Roman takes the photo, stares.
    ROMAN
    No. Who is he?
    GIDEON
    We'll talk on the way. Get dressed. We
    have a flight to catch.
    Gideon gets up, and leaves. Off Roman --
    DISSOLVE TO:
    EXT. EAST RIVER - NIGHT
    Extreme close-up of dark rolling waters. Drizzling...cold...
    thunder RUMBLING. We tilt up to reveal --
    WIDE ANGLE LENS on the East River while New York City is
    spread out in all its glory in the background under the gray
    sky. A tiny chip of technology breaks from the clouds. It
    moves slowly towards us.
    Continuing to approach, the object resolves into a MILITARY
    ASSAULT HELICOPTER. Drawing closer, the SOUND of powerful
    TURBINES, throbbing in the cold air, becomes dominant,
    overpowering.
    Its silhouette gliding against the river underneath as the
    chopper BURSTS INTO VIEW. Then suddenly it lifts into the
    view of... looming huge: the MANHATTAN BRIDGE.
    Impossibly close, the chopper soars over the bridge, and we
    get a startling sight of barricades, barbed wire, RUSTING
    CARS -- all scattered about like a child's toys.
    The chopper passes over the BROOKLYN BRIDGE now and we see
    the same barricades. The island of Manhattan is locked in.
    The chopper dips and banks sharply towards Liberty Island and
    the famous Statue.
    The PILOT'S VOICE is heard, coordinating their approach.
    PILOT
    (voice over, filtered)
    Liberty Command, this is Halo One.
    LIBERTY COMMAND
    (voice over, filtered)
    Go ahead.
    INT. COCKPIT - NIGHT
    In the cockpit, PILOT and CO-PILOT are surrounded by an array
    of dimly lit GAUGES and SWITCHES. Before the Co-Pilot is a
    red TOPOGRAPHICAL MAP of New York on which the Statue of
    Liberty and Ellis Island appear as giant gray blips.
    PILOT
    We are inbound south, five, five, zero.
    ETA in about three minutes. Over.
    LIBERTY COMMAND
    (voice over, filtered)
    Roger, Halo One. We have you on map,
    five by five. Adjust course to
    coordinates two, two, zero, mark four by
    zero. Over.
    PILOT
    Roger your insert coord.
    INT. HELICOPTER - NIGHT
    TIGHT CLOSE-UP of Roman's FACE illuminated by the eerie red
    glow of NIGHT LIGHTS, as he stares out at the city. Seated
    around him are Gideon, and a DR. SAM PARKER, wiry blonde man
    in glasses and tie.
    The compartment reverberates with the NOISE of the THUMPING
    ROTORS.
    GIDEON (O.S.)
    Give us your tired, your poor...
    Roman looks away to Gideon who is looking out the window with
    him. Both he and Gideon are dressed in matching black with
    leather long-coats.
    GIDEON (CONT'D.)
    ... your huddled masses yearning to
    breathe free.
    PARKER
    It ain't what it used to be.
    (to Roman)
    Hey, I need you to give me one more
    rundown before we land!
    He gestures a clipboard at him.
    


	2. Pages 11-15


    ROMAN
    Roman. X-Five-Four-Two-Eight. Code
    Three-Zero-One-Five-Eight-One-One-Zero-
    One-Nine-Seven-Nine. Date of birth,
    March 10th, 1997. Place of birth...
    A beat. Roman blinks at the sky. Parker looks up from his
    clipboard.
    ROMAN
    ...Boston, Massachusetts.
    PARKER
    That's good enough. I'm sorry I have to
    keep putting you through with these
    psych reviews. Just protocol.
    Manticore needs to evaluate your total
    efficiency.
    GIDEON
    You afraid of losing him?
    PARKER
    Dead kids are always a tragedy, Gideon.
    GIDEON
    That isn't what I meant.
    He gives him a knowing look, before turning back to the
    window.
    PARKER
    It's just protocol. I am your
    psychologist slash doctor slash if you
    let me, your best friend.
    PILOT (V.O.)
    I'm bearing one minute to HQ.
    GIDEON
    (into mike)
    Copy that.
    A BLUE LIGHT appears on the forward bulkhead.
    EXT. LIBERTY ISLAND - NIGHT
    The helicopter swings around the Statue, the force of the
    turn accentuated by the changing PITCH of the screaming
    turbines and the biting of rotors into the air.
    INT. HELICOPTER - NIGHT
    Roman pops another glance out the window.
    ROMAN
    The Director is down there?
    GIDEON
    (nodding)
    He'll debrief you.
    The blue light changes to GREEN.
    EXT. LIBERTY ISLAND - HELIPADS - NIGHT
    Guided by the LANDING LIGHTS, the chopper looms hard INTO
    VIEW, pitching forward and settling to the pad, blasting down
    the grass with incredible force.
    EXT. COMMAND POST - NIGHT
    Where Ransom watches from a distance the helicopter as it
    touches down.
    EXT. LIBERTY ISLAND - HELICOPTER PAD - NIGHT
    Ransom moves across the field to the helicopter, its BLADES
    still whipping with ferocity.
    Gideon sits by the open door, acknowledges him. Ransom hops
    on board. The two talk loudly over the clapped-out TURBINE'S
    NOISE.
    GIDEON
    Sir!
    RANSOM
    We have less than an hour before the
    meeting takes place! We're moving now!
    He makes a glance at Roman, then motions to the pilot.
    Gideon SLIDES the door shut.
    OUTSIDE THE CHOPPER,
    THE GROUND CREW waves red LIGHT SABRES: "all clear." The
    helicopter lifts off, and takes the air once more.
    CUT TO:
    INT. CONFERENCE ROOM - NIGHT
    The Corporate Trustee lowers his cellular phone, looks over
    to Mulcahy sitting in the shadows.
    CORPORATE TRUSTEE
    They're on their way.
    Mulcahy gives him a prudent nod, turns his seat.
    CUT TO:
    INT. HELICOPTER - RANSOM - NIGHT
    taps his receiver. Gideon does the same, nods to Ransom.
    RANSOM
    (into mike)
    Towner, come in.
    TOWNER
    (voice over, filtered)
    Sir. I'm on Sixteenth and Lincoln.
    RANSOM
    (into radio)
    Give me a sitrep.
    TOWNER
    (voice over, filtered)
    I have units moving up on all
    surrounding rooftops. All streets and
    alleys are ready for lock-down, but
    surveillance hasn't sighted anything
    yet.
    RANSOM
    (into radio)
    They'll be there.
    A beat.
    TOWNER
    (voice over, filtered)
    Wait a second. Stand by.
    CUT TO:
    INT. MOBILE COMMUNICATIONS TRAILER - ALLEY - NIGHT
    AT THE CONTROL PANEL - several TECHNICIANS talk into their
    headsets and watch a bank of MONITORS displaying: satellite
    pictures, thermographic images of a building structure.
    First Lieutenant TOWNER, huge tough guy in black combat
    fatigues, moves his mike aside, clicks on his walkie-talkie.
    TOWNER
    (into radio)
    Repeat again.
    EXT. ROOFTOP - TAC LEADER #1 - NIGHT
    and his nine man FEDERAL TACTICAL OPS TEAM are spread out
    across the roofs. The men wear flak vests, night-vision gear
    and communications equipment, and carry an array of shotguns,
    assault and sniper rifles. Everybody is still. The TAC
    LEADER #1 is by the edge, looking out with his night-vision
    goggles.
    TAC LEADER #1
    (into radio, whispered)
    Lieutenant. A possible moved into the
    zone.
    TAC LEADER #2
    (voice over, filtered)
    We have him here.
    TOWNER
    (voice over, filtered)
    I copy.
    INT. HELICOPTER - NIGHT
    Ransom listens intently.
    TOWNER
    (voice over, filtered)
    Sir, we got a live one.
    RANSOM
    (into radio)
    How many?
    He waits as information comes in.
    TOWNER
    (voice over, filtered)
    One bike. One man we think.
    RANSOM
    (into radio; acid)
    What do you mean we think?
    EXT. ADJACENT THEATER - WIDE ON ALLEY FROM ROOF - NIGHT
    Cruising up quietly on a running sleek black motorcycle is
    Tal. He stops, stares at several homeless who shuffle by
    under the spotlights. He glances sideways, to the theater.
    PULL BACK TO REVEAL we're SHOOTING FROM the roof of the
    apartment building DOWN onto the alley and in the FOREGROUND,
    prone on the roof is Tac Leader #2 in flak vest with an AR-
    180 rifle with a night-sight scope aimed at Tal. Two
    buildings away is the team with Tac Leader #1.
    TAC LEADER #2
    (into mike, whispered)
    I have him in sight, Lieutenant.
    INT. MOBILE COMMUNICATIONS TRAILER - ALLEY - NIGHT
    One of the monitors comes to life, FLARING UP to the POV of
    Tac Leader #2's camera. The screen is distorted somewhat.
    One of the techs clears it up.
    GRAYSCALE - BLOW-UP SHOT
    of Tal. The street around is bright as day, lurid white, and
    smooth gray.
    TOWNER
    (into radio)
    Uh, looks like in his mid-twenties.
    Fits your profile, Sir.
    INT. HELICOPTER - RANSOM
    Gideon looks up at Ransom, alarmed.
    RANSOM
    (into radio; livid)
    Are you kidding me? Your man is looking
    right at him? Tell that jagoff to get
    out of sight!
    Roman looks at the two. This got his attention.
    CUT TO:
    EXT. ROOFTOPS - ON TAC LEADER #2 - NIGHT
    as he and Tac Leader #1 with his team duck over just as --
    EXT. ALLEY - ON TAL - NIGHT
    For a brief instant, his eyes light up with the green cat
    retina reflection. He sweeps the rooftops. Looks like it's
    going to rain. Tal eases the shifter up into neutral.
    Rocks the bike onto its kickstand. Swings his leg over.
    INT. HELICOPTER - RANSOM - NIGHT
    He swears under his breath.
    TOWNER
    (voice over, filtered)
    I'm deploying two Special Weapons Teams
    at the front and back exits. Choppers
    on their way. You want us to...
    RANSOM
    (into radio; interrupts)
    Do what you need to do. Stay out of
    sight and keep off the air now. Make no
    move until we get there, understood?
    Where's my lift?
    TOWNER
    (voice over, filtered)
    We have a van waiting for you, Sir.
    RANSOM
    (into radio)
    We're on our way. 10-4.
    He snaps off his ear piece.
    EXT. HELIPORT - NIGHT
    THE CHOPPER hovers steadily over the landing pad, then
    touches down. The doors slide open, and out pop Ransom,
    Roman, Gideon and Parker.
    They quickly double-time to a large black SWAT VAN. As soon
    as everyone is in, the rear doors close and it roars across
    the heliport and exits through the gates.
    EXT. WEST SIDE HIGHWAY - NIGHT
    The van races across the empty highway at high speed. On its
    left, Manhattan seems lifeless, dark and cold. A stark
    contrast to the Jersey shore on the right which is brimming
    with lights.
    INT. SWAT VAN - NIGHT
    Ransom looks back at the rear. Roman is strapping on gear in
    preparation, ballistic vest, ammo clips, head phone, combat
    harnesses, all while studying blueprints thumb tacked in a
    neat row in front of him.
    Gideon hands him shoulder straps and holsters for dual 9mm
    Beretta Elites.
    


End file.
